I don't know how, and I don't know when, but somewhere along the line, I lost track of Powers v.1. I missed an issue or two, and then I couldn't remember where I'd left off. Suffice it to say that the title fell off of my radar, which doesn't make a lot of sense given how much I enjoy Brian Michael Bendis's writing. He reminds me why with this relaunch issue. Bendis offers up a thoroughly accessible jumping-on point for new readers, and since this new Powers series is being published by Marvel Comics, there's a strong chance there will be new readers to welcome aboard.
The world has changed. In the wake of a catastrophe at the hands of an out-fo-control Power, the governments of the world have declare the use of all super-powers to be illegal. That puts an end to the activities of the colorful heroes who filled the sky, but villains aren't exactly well known for abiding by laws. The detectives who handle powers-related cases have their hands full, and Detective Deena Pilgrim, after recovering from injuries, returns to the job, joining Detective Christian Walker in an investigation into the murder of one of their own.
It's not Oeming's line art that's the most impressive aspect of the visual side of this book. It's the darkness he shapes to convey mood, mystery and even motion. As is usually the case with a Bendis-scripted book, the panel layouts maintain a sense of forward motion in the plot. They also play with perspective, throwing the reader off balance a bit at times, which enhances the tension of the story. The colors here are wonderfully subtle yet clear. The tiny shift in the color of the murder victim's skin color made for a great moment, allowing the reader and the detective to realize what was happening before it happened.
I've heard a number of complaints about the repetitive nature of Bendis's dialogue work. I can understand why those complaints have arisen, but for the most part, I remain a big fan of his scripts. There's a Sorkin-esque rhythm at play that creates the illusion of natural speech. No, it's not actually realistic speech. Fiction writing should be more colorful, and Bendis accomplishes that while making it seem as though his script is grounded and natural.
The new premise here is a solid one. Police are fighting a losing battle thanks to short-sighted policies that are dropped on them from on high. The cliffhanger ending is somewhat on the predictable side, but it's also satisfying, offering a glimmer of hope at the end of an issue that's immersed in despair.
I can't help but wonder what some of the Powers That Be at Marvel Comics will think when they discover that one of the title they publish -- albeit a creator-owned one -- makes casual use of the F-word and encourages its readers to have sex with one another (see the letters page)? Am I offended? Hell no. I'm just curious to see if there will be any fallout as a result of the move from Image to Marvel. Mind you, there's no direct indication on the cover that this is published by Marvel at all. It seems to me that if the move is designed in part to boost readership, it would make more sense if the book were more clearly labelled as a Marvel product.
